“Free Speech and a good night out” is claimed by the Artistic Director Alex Clifton in the foreword of the programme to the bloodthirsty musical and it certainly delivers this and more. The story of a Faustian pact with a blood-thirsty plant, who’ll eat you alive but deliver you your heart's desire. It’s fun and just a little bit naughty.
From the moment you enter the auditorium you are surrounded by 1950's music and advertising. It immediately transports you to the era. The stage is Mushnik's Flower Shop and flowers in pots are dotted around the stage. Surrounding the main stage is an air conditioning unit covered in old style horror film posters depicting images of Frankenstein's monster and alien invasions. A fog covers the stage heightened by the dark blue hue of the lights. Everything looks worn and battered and fully encapsulates that B Movie Sci Fi Horrorfilm genre that the programme claims the play is based on.
The thrust theatre allows an intimate feel for the show, inviting the audience to be a part of the performance. It has been many years since I first watched 'Little Shop Of Horrors'. I had never seen the live show, with my only experience being watching the 1986 film with Rick Moranis. I am intrigued if the sense of fun I remember from the film will translate to the stage. As the show starts it is clear that this show will be high energy and highly entertaining. Nothing could incorporate these words more then Stephen Anellis performance. As the crazed and sadistic dentist, Orin, he played the part to perfection. His overtly sexualised performance brought a hilarious aspect to the character and a likeability which was not expected. He played the character as a melodramatic villain without going too far and ostracising the audience.
The standout moment in his performance was the death of Orin. His maniacal giggles coupled with staccato jerking movements created an over-the-top death any B movie villain would be proud of. The double entendres and actions in the scene is reminiscent of a “Carry On” film, in the best way.
Michelle Bishop as Audrey takes a character that at first seems very outdated and, to be honest, quite annoying, but shapes her into an interesting and surprisingly poignant character. Her rendition of “Somewhere That’s Green" is the epitome of this. Her understated movements and far off glances made it a well-placed moment that created empathy with the audience.
The puppetry of Audrey Two only added to the B Movie aesthetic. In the first half of the show we see a small hand-held puppet which evolves into a bigger version before at the start of the second half we see the full evolution of the character. Designer Jess Curtis created a 360 degree creation that looked like a creature from the deep as well as a plant. The neon paint coupled with the lightning effect of the tubed lighting hung around the stage was an obvious nod to Frankenstein and the creation of his monster, mirroring the events of Seymour and Audrey Two. The slow build to the green colour encompassing the set brings the theme of money and power as it begins to creep into the space and is again echoed throughout the spread of Audrey Two's power and influence over Seymour.
The show overall was a fun night out with some excellent songs and actually quite thought-provoking characters. It didn’t necessarily change my thinking or create a debate but I enjoyed it and left singing the signature song “Little Shop Of Horrors” which can only be a good thing.
Reviewer - Francesca Eager
on - 16/5/19
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